Boots Galore - The Clash MEGALIST (reloaded)

[appleseed1]

The Clash - Wessex Hall, Poole - 10th Feb 1980

Toshiba ghettoblaster >
Transferred with Nakamichi CR-3 to SD722 @24/48
Firewire to MacBook Pro
Wave Editor (Normalise-tracksplits, anything else I could think off to try and make it better)
xAct Flac8
Don’t raise your hopes here, the sound is pretty shit

This gig was sandwiched between to Joy Division gigs, so that combined with the poor sound of the Wessex Hall meant that this tape found itself at the bottom of my tape box pretty quickly.
Thought I better get it out just for the die hards

This is the setlist I had down at the time but I’ve not tagged the songs because there are too many I don’t know. I'm not a big fan

01 Clash City Rockers
02 Brand New Cadillac
03 Safe European Home
04 Jimmy Jazz
05 London Calling
06 Guns of Brixton
07 Protex Blue
08 Julie’s Been Working for the Drug Squad
09 White Man in Hammersmith Palais
10 Koka Kola
11 I Fought the Law
12 Spanish Bombs
13 Capital Radio
14 Stay Free
15 Wrong 'Em Boyo
16 Clampdown
17 Police and Thieves
18 Janie Jones
19 Complete Control
20 Armagideon Time
21 English Civil War
22 Bankrobber
23 Tommy Gun
24 London's Burning

https://www.filefactory.com/file/1ur930 ... .21%5D.rar

https://www.guitars101.com/threads/the- ... uk.786781/

[appleseed1]

Found on Dime torrents today:

The Clash
October 23, 1982
Oakland-Alameda County Coliseum
Oakland, California
JEMS Master Tape

Musicians:

Terry Chimes (drums)
Mick Jones (guitar, vocals)
Paul Simonon (bass, vocals)
Joe Strummer (guitar, vocals)

Recording gear: Teac M-100 mic > Sony D-6

JEMS 2022 Transfer: Master cassette > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 3.2.1 (24/96 capture to .wav) > iZotope RX7 and Ozone 6 mastering > iZotope MBIT+ resample to 16/44 > FLAC > Finishing via Audacity 3.2.1 and TLH

01_Kosmo Vinyl introduction
02_Joe Strummer remarks
03_London Calling
04_Police on My Back
05_The Guns of Brixton
06_Janie Jones
07_Spanish Bombs
08_Magnificent Seven >
09_Armagideon Time >
10_Magnificent Seven
11_Rock the Casbah
12_Train in Vain
13_Tommy Gun
14_English Civil War
15_Clampdown
16_Brand New Cadillac
17_Should I Stay or Should I Go
18_I Fought the Law

This file set features Jared Houser’s fabulous 1982 recording of The Clash, performing in Oakland, California, one of eight shows opening for The Who. Transferred to digital from his master cassette tape for the first time, the music reminds me of a highly anticipated Saturday afternoon and everything that happened afterward.

It was, in a word, the beginning: the day I met Jared and AMorg, heard The Clash and The Who perform live for the first time, and first saw someone make a field recording.

Standing beside Jared in shallow left-center field, I watched as he set up. I was instantly curious about how it all worked, impressed in particular by his brand-new Sony D6: this was the age of the Walkman, and that deck was tops. Naturally, my mind wandered to how I might get a copy of Jared's tape.

I was a newly-minted collector, having gotten my first tape a few months prior — a 2nd or 3rd gen. from Persic’s capture of Bruce Springsteen, performing on October 27, 1980, across the way at the Oakland Coliseum Arena.

In a stroke of luck, my copy of The Clash tape came from AMorg. Nevermind that it was 2nd gen. — I didn't know much about all that anyway. It sounded great and added to my growing collection.

Not long after, she suggested that I get in touch with a fellow she knew who was also into live tapes, and, in early ’83, BK and I began to correspond. When the stars aligned, JEMS took shape, and here we are today. (Full disclosure: I am not an official member. Rather, I am JEMS-adjacent, a watchful ally who recalls being in the same room with all of them on many occasions.)

To mark the 40th anniversary of the music and a moment where a key piece of the puzzle fell into place, we reached for Jared’s master — stored, perhaps fittingly, with his master Who tapes. This was, after all, the tour where Pete Townshend was passing the torch to the young punks.

The Clash was enjoying commercial and pop culture success: the LP "Combat Rock" had spawned three singles, and its videos were all over MTV. Adolescents mimicked Joe Strummer’s mohawk. But tension within the band saw Terry Chimes replacing Topper Headon (Chimes left after the band’s final 1982 date); by early ’83, Mick Jones would be out, too. Which still makes no sense.

It was a farewell tour, alright. For The Clash.

Whatever the turmoil, the music played and recorded in Oakland sounds great, with a set list designed to get the job done in just under 50 minutes. Gears shift as the band slips seamlessly into a reggae beat for “Armagideon Time,” then back into “Magnificent Seven”; otherwise, the band plays a whistle-stop through upbeat numbers, whether hits of the day or rockers from previous LPs.

Though I came to appreciate The Clash a great deal, I didn't know much about the band at the time. Its set was straightforward and got the blood pumping. Did its well-earned cred exceed its capabilities as a live band? Maybe. Was the playing solid? No question. Exciting? For sure. But punk is an ethos, and I have always favored studio recordings (like its 1977 debut) over ones of its stage shows.

Preparing Jared’s tape has caused me to reconsider that. What I hear now, like guitar interplay between Mick Jones and Joe Strummer, and Terry Chimes’s drumming, is first-rate and original. If The Clash had gotten better as a live act, Oakland really was the place to be on this day.

Jared’s recording is excellent: after exuberant cheering during the opening remarks, the ambiance settles nicely, contributing to a super-fine capture. That’s advantageous, as the other seven Clash appearances with The Who were a mixed bag sonically, due to relatively poor acoustics of places like the Pontiac Silverdome or the Kingdome. Jared’s mono capture in Oakland gains from BK’s studious transfer and mastering, making it sound more like stereo.

Today, with the focus on tape conservation and file sharing, I’m motivated by two things: first, the idea that from the time you began to read this note, the music in this file set will have traveled to multiple countries around the world. Before that? Perhaps its only place was on Jared's master.

Second, I am mindful of some 14-year-old kid out there somewhere, much like myself in 1982. I hope this recording reaches them, and others, too, for a long time to come.

Thanks to my friends at JEMS, AMorg, Dr. Billy, and fellow enthusiasts. Here’s to 40 years of friendship, road trips, countless trades, many good memes (Mr. Slate!), an enduring commitment to taping, and to Jared and Stan, wherever the music reaches them.

Share it freely, and for free!

- slipkid68


https://mega.nz/folder/QZlj2b5b#W8gOpsgIpF3juZDwqCePcQ

[Sparky]

Found on Dime torrents today:

The Clash
October 23, 1982
Oakland-Alameda County Coliseum
Oakland, California
JEMS Master Tape

Thank you!

[Stefano1972]

Found on Dime torrents today:

The Clash
October 23, 1982
Oakland-Alameda County Coliseum
Oakland, California
JEMS Master Tape

Musicians:

Terry Chimes (drums)
Mick Jones (guitar, vocals)
Paul Simonon (bass, vocals)
Joe Strummer (guitar, vocals)

Recording gear: Teac M-100 mic > Sony D-6

JEMS 2022 Transfer: Master cassette > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 3.2.1 (24/96 capture to .wav) > iZotope RX7 and Ozone 6 mastering > iZotope MBIT+ resample to 16/44 > FLAC > Finishing via Audacity 3.2.1 and TLH

01_Kosmo Vinyl introduction
02_Joe Strummer remarks
03_London Calling
04_Police on My Back
05_The Guns of Brixton
06_Janie Jones
07_Spanish Bombs
08_Magnificent Seven >
09_Armagideon Time >
10_Magnificent Seven
11_Rock the Casbah
12_Train in Vain
13_Tommy Gun
14_English Civil War
15_Clampdown
16_Brand New Cadillac
17_Should I Stay or Should I Go
18_I Fought the Law

This file set features Jared Houser’s fabulous 1982 recording of The Clash, performing in Oakland, California, one of eight shows opening for The Who. Transferred to digital from his master cassette tape for the first time, the music reminds me of a highly anticipated Saturday afternoon and everything that happened afterward.

It was, in a word, the beginning: the day I met Jared and AMorg, heard The Clash and The Who perform live for the first time, and first saw someone make a field recording.

Standing beside Jared in shallow left-center field, I watched as he set up. I was instantly curious about how it all worked, impressed in particular by his brand-new Sony D6: this was the age of the Walkman, and that deck was tops. Naturally, my mind wandered to how I might get a copy of Jared's tape.

I was a newly-minted collector, having gotten my first tape a few months prior — a 2nd or 3rd gen. from Persic’s capture of Bruce Springsteen, performing on October 27, 1980, across the way at the Oakland Coliseum Arena.

In a stroke of luck, my copy of The Clash tape came from AMorg. Nevermind that it was 2nd gen. — I didn't know much about all that anyway. It sounded great and added to my growing collection.

Not long after, she suggested that I get in touch with a fellow she knew who was also into live tapes, and, in early ’83, BK and I began to correspond. When the stars aligned, JEMS took shape, and here we are today. (Full disclosure: I am not an official member. Rather, I am JEMS-adjacent, a watchful ally who recalls being in the same room with all of them on many occasions.)

To mark the 40th anniversary of the music and a moment where a key piece of the puzzle fell into place, we reached for Jared’s master — stored, perhaps fittingly, with his master Who tapes. This was, after all, the tour where Pete Townshend was passing the torch to the young punks.

The Clash was enjoying commercial and pop culture success: the LP "Combat Rock" had spawned three singles, and its videos were all over MTV. Adolescents mimicked Joe Strummer’s mohawk. But tension within the band saw Terry Chimes replacing Topper Headon (Chimes left after the band’s final 1982 date); by early ’83, Mick Jones would be out, too. Which still makes no sense.

It was a farewell tour, alright. For The Clash.

Whatever the turmoil, the music played and recorded in Oakland sounds great, with a set list designed to get the job done in just under 50 minutes. Gears shift as the band slips seamlessly into a reggae beat for “Armagideon Time,” then back into “Magnificent Seven”; otherwise, the band plays a whistle-stop through upbeat numbers, whether hits of the day or rockers from previous LPs.

Though I came to appreciate The Clash a great deal, I didn't know much about the band at the time. Its set was straightforward and got the blood pumping. Did its well-earned cred exceed its capabilities as a live band? Maybe. Was the playing solid? No question. Exciting? For sure. But punk is an ethos, and I have always favored studio recordings (like its 1977 debut) over ones of its stage shows.

Preparing Jared’s tape has caused me to reconsider that. What I hear now, like guitar interplay between Mick Jones and Joe Strummer, and Terry Chimes’s drumming, is first-rate and original. If The Clash had gotten better as a live act, Oakland really was the place to be on this day.

Jared’s recording is excellent: after exuberant cheering during the opening remarks, the ambiance settles nicely, contributing to a super-fine capture. That’s advantageous, as the other seven Clash appearances with The Who were a mixed bag sonically, due to relatively poor acoustics of places like the Pontiac Silverdome or the Kingdome. Jared’s mono capture in Oakland gains from BK’s studious transfer and mastering, making it sound more like stereo.

Today, with the focus on tape conservation and file sharing, I’m motivated by two things: first, the idea that from the time you began to read this note, the music in this file set will have traveled to multiple countries around the world. Before that? Perhaps its only place was on Jared's master.

Second, I am mindful of some 14-year-old kid out there somewhere, much like myself in 1982. I hope this recording reaches them, and others, too, for a long time to come.

Thanks to my friends at JEMS, AMorg, Dr. Billy, and fellow enthusiasts. Here’s to 40 years of friendship, road trips, countless trades, many good memes (Mr. Slate!), an enduring commitment to taping, and to Jared and Stan, wherever the music reaches them.

Share it freely, and for free!

- slipkid68


https://mega.nz/folder/QZlj2b5b#W8gOpsgIpF3juZDwqCePcQ

In the 80’s I had a tape with this recording. Thanks for sharing.

[white man]

Found on Dime torrents today:

The Clash
October 23, 1982
Oakland-Alameda County Coliseum
Oakland, California
JEMS Master Tape

Musicians:

Terry Chimes (drums)
Mick Jones (guitar, vocals)
Paul Simonon (bass, vocals)
Joe Strummer (guitar, vocals)

Recording gear: Teac M-100 mic > Sony D-6

JEMS 2022 Transfer: Master cassette > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 3.2.1 (24/96 capture to .wav) > iZotope RX7 and Ozone 6 mastering > iZotope MBIT+ resample to 16/44 > FLAC > Finishing via Audacity 3.2.1 and TLH

01_Kosmo Vinyl introduction
02_Joe Strummer remarks
03_London Calling
04_Police on My Back
05_The Guns of Brixton
06_Janie Jones
07_Spanish Bombs
08_Magnificent Seven >
09_Armagideon Time >
10_Magnificent Seven
11_Rock the Casbah
12_Train in Vain
13_Tommy Gun
14_English Civil War
15_Clampdown
16_Brand New Cadillac
17_Should I Stay or Should I Go
18_I Fought the Law

This file set features Jared Houser’s fabulous 1982 recording of The Clash, performing in Oakland, California, one of eight shows opening for The Who. Transferred to digital from his master cassette tape for the first time, the music reminds me of a highly anticipated Saturday afternoon and everything that happened afterward.

It was, in a word, the beginning: the day I met Jared and AMorg, heard The Clash and The Who perform live for the first time, and first saw someone make a field recording.

Standing beside Jared in shallow left-center field, I watched as he set up. I was instantly curious about how it all worked, impressed in particular by his brand-new Sony D6: this was the age of the Walkman, and that deck was tops. Naturally, my mind wandered to how I might get a copy of Jared's tape.

I was a newly-minted collector, having gotten my first tape a few months prior — a 2nd or 3rd gen. from Persic’s capture of Bruce Springsteen, performing on October 27, 1980, across the way at the Oakland Coliseum Arena.

In a stroke of luck, my copy of The Clash tape came from AMorg. Nevermind that it was 2nd gen. — I didn't know much about all that anyway. It sounded great and added to my growing collection.

Not long after, she suggested that I get in touch with a fellow she knew who was also into live tapes, and, in early ’83, BK and I began to correspond. When the stars aligned, JEMS took shape, and here we are today. (Full disclosure: I am not an official member. Rather, I am JEMS-adjacent, a watchful ally who recalls being in the same room with all of them on many occasions.)

To mark the 40th anniversary of the music and a moment where a key piece of the puzzle fell into place, we reached for Jared’s master — stored, perhaps fittingly, with his master Who tapes. This was, after all, the tour where Pete Townshend was passing the torch to the young punks.

The Clash was enjoying commercial and pop culture success: the LP "Combat Rock" had spawned three singles, and its videos were all over MTV. Adolescents mimicked Joe Strummer’s mohawk. But tension within the band saw Terry Chimes replacing Topper Headon (Chimes left after the band’s final 1982 date); by early ’83, Mick Jones would be out, too. Which still makes no sense.

It was a farewell tour, alright. For The Clash.

Whatever the turmoil, the music played and recorded in Oakland sounds great, with a set list designed to get the job done in just under 50 minutes. Gears shift as the band slips seamlessly into a reggae beat for “Armagideon Time,” then back into “Magnificent Seven”; otherwise, the band plays a whistle-stop through upbeat numbers, whether hits of the day or rockers from previous LPs.

Though I came to appreciate The Clash a great deal, I didn't know much about the band at the time. Its set was straightforward and got the blood pumping. Did its well-earned cred exceed its capabilities as a live band? Maybe. Was the playing solid? No question. Exciting? For sure. But punk is an ethos, and I have always favored studio recordings (like its 1977 debut) over ones of its stage shows.

Preparing Jared’s tape has caused me to reconsider that. What I hear now, like guitar interplay between Mick Jones and Joe Strummer, and Terry Chimes’s drumming, is first-rate and original. If The Clash had gotten better as a live act, Oakland really was the place to be on this day.

Jared’s recording is excellent: after exuberant cheering during the opening remarks, the ambiance settles nicely, contributing to a super-fine capture. That’s advantageous, as the other seven Clash appearances with The Who were a mixed bag sonically, due to relatively poor acoustics of places like the Pontiac Silverdome or the Kingdome. Jared’s mono capture in Oakland gains from BK’s studious transfer and mastering, making it sound more like stereo.

Today, with the focus on tape conservation and file sharing, I’m motivated by two things: first, the idea that from the time you began to read this note, the music in this file set will have traveled to multiple countries around the world. Before that? Perhaps its only place was on Jared's master.

Second, I am mindful of some 14-year-old kid out there somewhere, much like myself in 1982. I hope this recording reaches them, and others, too, for a long time to come.

Thanks to my friends at JEMS, AMorg, Dr. Billy, and fellow enthusiasts. Here’s to 40 years of friendship, road trips, countless trades, many good memes (Mr. Slate!), an enduring commitment to taping, and to Jared and Stan, wherever the music reaches them.

Share it freely, and for free!

- slipkid68


https://mega.nz/folder/QZlj2b5b#W8gOpsgIpF3juZDwqCePcQ

I'm sure this could be improved a bit more than it has already. Marky Magic maybe

[Marky Dread]

Found on Dime torrents today:

The Clash
October 23, 1982
Oakland-Alameda County Coliseum
Oakland, California
JEMS Master Tape

Musicians:

Terry Chimes (drums)
Mick Jones (guitar, vocals)
Paul Simonon (bass, vocals)
Joe Strummer (guitar, vocals)

Recording gear: Teac M-100 mic > Sony D-6

JEMS 2022 Transfer: Master cassette > Nakamichi Cassette Deck 1 azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 3.2.1 (24/96 capture to .wav) > iZotope RX7 and Ozone 6 mastering > iZotope MBIT+ resample to 16/44 > FLAC > Finishing via Audacity 3.2.1 and TLH

01_Kosmo Vinyl introduction
02_Joe Strummer remarks
03_London Calling
04_Police on My Back
05_The Guns of Brixton
06_Janie Jones
07_Spanish Bombs
08_Magnificent Seven >
09_Armagideon Time >
10_Magnificent Seven
11_Rock the Casbah
12_Train in Vain
13_Tommy Gun
14_English Civil War
15_Clampdown
16_Brand New Cadillac
17_Should I Stay or Should I Go
18_I Fought the Law

This file set features Jared Houser’s fabulous 1982 recording of The Clash, performing in Oakland, California, one of eight shows opening for The Who. Transferred to digital from his master cassette tape for the first time, the music reminds me of a highly anticipated Saturday afternoon and everything that happened afterward.

It was, in a word, the beginning: the day I met Jared and AMorg, heard The Clash and The Who perform live for the first time, and first saw someone make a field recording.

Standing beside Jared in shallow left-center field, I watched as he set up. I was instantly curious about how it all worked, impressed in particular by his brand-new Sony D6: this was the age of the Walkman, and that deck was tops. Naturally, my mind wandered to how I might get a copy of Jared's tape.

I was a newly-minted collector, having gotten my first tape a few months prior — a 2nd or 3rd gen. from Persic’s capture of Bruce Springsteen, performing on October 27, 1980, across the way at the Oakland Coliseum Arena.

In a stroke of luck, my copy of The Clash tape came from AMorg. Nevermind that it was 2nd gen. — I didn't know much about all that anyway. It sounded great and added to my growing collection.

Not long after, she suggested that I get in touch with a fellow she knew who was also into live tapes, and, in early ’83, BK and I began to correspond. When the stars aligned, JEMS took shape, and here we are today. (Full disclosure: I am not an official member. Rather, I am JEMS-adjacent, a watchful ally who recalls being in the same room with all of them on many occasions.)

To mark the 40th anniversary of the music and a moment where a key piece of the puzzle fell into place, we reached for Jared’s master — stored, perhaps fittingly, with his master Who tapes. This was, after all, the tour where Pete Townshend was passing the torch to the young punks.

The Clash was enjoying commercial and pop culture success: the LP "Combat Rock" had spawned three singles, and its videos were all over MTV. Adolescents mimicked Joe Strummer’s mohawk. But tension within the band saw Terry Chimes replacing Topper Headon (Chimes left after the band’s final 1982 date); by early ’83, Mick Jones would be out, too. Which still makes no sense.

It was a farewell tour, alright. For The Clash.

Whatever the turmoil, the music played and recorded in Oakland sounds great, with a set list designed to get the job done in just under 50 minutes. Gears shift as the band slips seamlessly into a reggae beat for “Armagideon Time,” then back into “Magnificent Seven”; otherwise, the band plays a whistle-stop through upbeat numbers, whether hits of the day or rockers from previous LPs.

Though I came to appreciate The Clash a great deal, I didn't know much about the band at the time. Its set was straightforward and got the blood pumping. Did its well-earned cred exceed its capabilities as a live band? Maybe. Was the playing solid? No question. Exciting? For sure. But punk is an ethos, and I have always favored studio recordings (like its 1977 debut) over ones of its stage shows.

Preparing Jared’s tape has caused me to reconsider that. What I hear now, like guitar interplay between Mick Jones and Joe Strummer, and Terry Chimes’s drumming, is first-rate and original. If The Clash had gotten better as a live act, Oakland really was the place to be on this day.

Jared’s recording is excellent: after exuberant cheering during the opening remarks, the ambiance settles nicely, contributing to a super-fine capture. That’s advantageous, as the other seven Clash appearances with The Who were a mixed bag sonically, due to relatively poor acoustics of places like the Pontiac Silverdome or the Kingdome. Jared’s mono capture in Oakland gains from BK’s studious transfer and mastering, making it sound more like stereo.

Today, with the focus on tape conservation and file sharing, I’m motivated by two things: first, the idea that from the time you began to read this note, the music in this file set will have traveled to multiple countries around the world. Before that? Perhaps its only place was on Jared's master.

Second, I am mindful of some 14-year-old kid out there somewhere, much like myself in 1982. I hope this recording reaches them, and others, too, for a long time to come.

Thanks to my friends at JEMS, AMorg, Dr. Billy, and fellow enthusiasts. Here’s to 40 years of friendship, road trips, countless trades, many good memes (Mr. Slate!), an enduring commitment to taping, and to Jared and Stan, wherever the music reaches them.

Share it freely, and for free!

- slipkid68


https://mega.nz/folder/QZlj2b5b#W8gOpsgIpF3juZDwqCePcQ

I'm sure this could be improved a bit more than it has already. Marky Magic maybe

Marky is busy.

[Flex]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

[Marky Dread]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

[Heston]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

Sincerely hope all goes well Marky.

[Marky Dread]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

Sincerely hope all goes well Marky.

Thanks Hes appreciated.

[Sparky]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

Having just gone through one this past week, I can honestly say I feel for you and hope everything goes smoothly and the results are negative on all tests.

[Flex]

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

You'll be in our thoughts Marky, fingers crossed and hope all goes well.

[Marky Dread]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

Having just gone through one this past week, I can honestly say I feel for you and hope everything goes smoothly and the results are negative on all tests.

Thanks mate I hope you are well.

[Marky Dread]

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

You'll be in our thoughts Marky, fingers crossed and hope all goes well.

Nice one mate thanks.

[Stefano1972]

Not a patch on Marky's work of courses but those JEMS master tapes transfers are usually pretty high quality for the kind of minimal touch up work that's allowed on trading sites.

Yeah they are. I've got a few other JEMS tapes all solid. Though I think they have had a little post work on them.

I'm busy working on the Joe box set but maybe afterwards I'll have a play with this Oakland show.

I'm going into hospital for a Colonoscopy for bowel cancer screening on Tuesday so things all depend on how that goes.

I'm sure everything will be alright with your health, take care of yourself now. My best wishes for you <3